MINT  THOMAS  CHURCH 


UEI  YORK:  CITY 


i£x  Htbrts 


SEYMOUR  DURST 


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THE  CHANCFL  AND  REREDOS 


A  Short  Description 

of  the 

Reredos,  Wood  Carvings 

and 

Other  Objects  of  Interest 

in 

Saint  Thomas  Church 
New  York  City 


PUBLISHED  IN  AID  OF  THE   ENDOWMENT  FUND  OF 
SAINT  THOMAS  PARISH 
BY  THE  GILLISS  PRESS,   l6o  FIFTH  AVENUE,  NEW  YORK 


ACKNOWLEDGMENT 

In  preparing  this  book  for  publication  in  memory  of  my 
brother  Walter  Gilliss,  who  began  the  work,  I  wish  to  gratefully 
acknowledge  with  thanks  the  assistance  given  by  our  former 
Rector,  the  Rt.  Rev.  Ernest  M.  Stires,  who  wrote  the  Intro- 
duction and  Description  of  the  Reredos  and  Chancel,  and  the 
Rev.  Floyd  S.  Leach,  to  whom  I  am  indebted  for  much  of  the 
material  for  the  illustrations,  as  well  as  the  Rev.  Roelif  H.  Brooks, 
our  present  Rector,  who  has  aided  me  with  many  suggestions, 
and  additional  information. 

Frank  Le  G.  Gilliss. 

All  Saints  Day,  1927 


INTRODUCTION 


Saint  Thomas  Church  is  214  feet  long;  100  feet  wide; 
width  of  nave  between  columns  43  feet;  height  from  pave- 
ment to  crown  of  the  vault  95  feet. 

The  architects  were  Cram,  Goodhue  and  Ferguson  of 
Boston  and  New  York.  (The  partnership  was  later  dis- 
solved into  Cram  and  Ferguson  of  Boston,  and  Bertram 
G.  Goodhue  of  New  York.) 

Mr.  Ralph  Adams  Cram  was  responsible  for  the  plan, 
and  to  Mr.  Goodhue's  genius  must  be  credited  the  wealth 
of  significant  detail. 

Many  ask  whether  Saint  Thomas  has  in  any  degree 
been  copied  from  one  of  the  great  Gothic  structures  of 
the  13th  century,  or  whether  it  closely  resembles  any  of 
these.  Both  questions  must  be  answered  with  an  emphatic 
negative.  There  is  a  relationship  in  all  good  Gothic  art, 
but  Saint  Thomas  Church,  while  loyal  to  the  funda- 
mental canons  of  Gothic  architecture,  is  an  original  con- 
ception, a  living  architectural  creation.  To  this  the  ar- 
chitects of  America  and  Europe  have  given  generous 
testimony. 

Certain  resemblances  to  other  structures,  however, 
may  be  indicated.  There  is  a  suggestion  of  Bourges  Ca- 
thedral in  the  lack  of  transepts,  with  the  main  arcades 
unbroken  from  east  to  west.  The  walls,  divided  into  ar- 
cade, triforium  and  clerestory,  observe  the  vertical  pro- 
portions of  those  of  Troyes  Cathedral  in  France.  The  ar- 
rangement of  the  Chantry  and  the  gallery  above  it  was 
suggested  to  the  architects  by  the  great  two-storied  arcade 
of  Le  Mans  Cathedral. 


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ST.  THOMAS  CHURCH 


Viewing  the  church  from  the  southeast  corner  of 
Fifth  Avenue  and  Fifty-third  Street  one  is  impressed  by 
the  success  of  the  architects  in  securing  emphasis  by 
means  of  mass,  where  rivalry  in  height  would  have  been 
impossible.  The  impressive  strength  of  the  structure  con- 
tinues to  remind  many  of  Rheims. 

At  present  the  exterior  lacks  the  beautiful  carvings 
which  from  the  first  have  been  an  essential  part  of  the 
plan.  There  is  to  be  an  attractive  South  Porch,  over  the 
entrance  in  the  south  side  of  the  tower.  There  are  to  be 
appropriate  statues  in  the  many  niches  on  the  front. 
There  are  to  be  beautiful  carvings  around  the  "rose  win- 
dow." The  deep  main  portal  is  to  receive  its  proper  or- 
namentation. Added  to  the  religious  significance  of  such 
work  is  the  certainty  that  it  more  greatly  contributes  to 
the  general  pleasure  and  to  the  appreciation  and  encour- 
agement of  art  than  would  the  purchase  of  a  high-priced 
painting  placed  in  a  private  house  and  enjoyed  by  a  few. 

On  entering  the  Church  one  is  conscious  of  "a  profound 
impression  of  dignity  and  harmony  of  proportion/'  to 
quote  Mr.  Ernest  Peixotto  in  a  beautifully  illustrated 
article  in  the  magazine  "Architecture"  for  July,  1920. 
He  continues,  "From  the  very  entrance,  the  eye  is  im- 
mediately attracted  by  the  exceeding  richness  of  the 
Chancel,  where  the  great  reredos — a  gigantic  work  of  art 
— rears  itself  aloft,  piling  its  niches,  its  sculptured  figures, 
and  its  pinnacles  from  the  Altar  to  the  topmost  curve 
of  the  main  vaults  of  the  church,  a  height  of  some 
eighty  feet.  This  reredos  is,  I  believe,  one  of  the  greatest 
accomplishments  in  modern  ecclesiastical  art.  The  union 
between  architect  and  sculptor  seems  quite  complete. 
Its  several  tiers  of  niches,  peopled  with  saints  and 
prophets,  with  great  reformers  and  dignitaries  of  the 
Christian  Church,  rise  one  upon  another,  cut  in  stone 
of  the  same  warm  character  as  the  rest  of  the  church 
and  forming  an  integral  part  of  it.  These  niches  are 


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NEW  YORK  CITY 


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shaded  by  richly  carved  canopies  and  separated  by  slender 
columns  or  by  delicate  buttresses  ornamented  with  ex- 
quisite detail.  Toward  its  summit,  the  reredos  is  pierced 
by  three  openings  that  reveal  windows  which,  though 
not  intended  to  be  permanent,  are  glazed  in  the  rich, 
jewel-like  tones  of  the  glass  at  Chart  res.  Immediately 
above  the  High  Altar,  which  in  itself  is  extremely  simple, 
in  a  deeply  recessed  porch,  stands  a  group  of  figures  that 
depict  St.  Thomas  kneeling  as  he  recognizes  the  Risen 
Christ.  Above  this  porch  towers  a  great  cross,  surmounted 
by  a  crown  of  thorns,  capped  by  a  diadem,  and  sur- 
rounded by  adoring  angels  enclosed  in  a  flat  panel  whose 
frame  is  embellished  with  scrolls  and  foliations,  and  with 
shields  showing  the  implements  of  the  Passion.  Above 
the  cross  again,  in  a  glorified  Calvary,  appear  lifesize 
figures  of  Christ,  St.  Mary,  and  the  Beloved  Disciple, 
while  in  niches  above  these  and  about  them  appear 
apostles  and  saints,  missionaries  and  reformers,  divines 
of  the  Episcopal  Church  in  England  and  America.  All 
these  figures  have  been  carefully  studied  in  their  re- 
lationship to  each  other  and  to  the  whole,  and  produce 
that  wonderful  impression  of  richness  combined  with 
order,  of  dignity  combined  with  grace,  that  quite  over- 
powers the  beholder  in  the  storied  retables  of  Italy  and 
Spain.  The  work  of  the  sculptor  forms  no  mean  part  in 
the  success  of  this  accomplishment,  for,  as  in  much  of  the 
late-Gothic  work,  the  stonecutter's  art  almost  overshadows 
that  of  the  architect." 

For  this  beautiful  design  the  credit  belongs  to  Mr.  Ber- 
tram Grosvenor  Goodhue,  who  gave  high  praise  to  his 
assistants,  Messrs.  Jago  and  Murray. 

The  sculptor,  Mr.  Lee  Lawrie,  has  wrought  a  work 
which  should  give  him  high  and  permanent  rank.  The 
actual  cutting  of  the  stone  was  done  by  the  Ardolino 
brothers,  and  carried  out  in  a  fine  Gothic  spirit. 

The  altar  and  reredos  are  a  memorial  to  Mr.  and  Mrs. 


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ST.  THOMAS  CHURCH 


Harris  C.  Fahnestock,  the  gift  of  their  five  sons  and  daugh- 
ter. 

The  stone  (known  as  "  Dunville"  stone)  used  for  the 
reredos,  is  from  Danville,  Ohio,  and  is  of  a  texture  in 
hardness  between  limestone  and  sandstone. 

To  see  St.  Thomas,  stand  at  the  foot  of  the  center  aisle 
pausing  a  few  moments  to  feel  the  effect  of  the  fine  pro- 
portions. At  once  you  are  attracted  by  the  beauty  and  dig- 
nity of  the  reredos,  the  largest  in  the  world.  But  the 
beauty  and  artistic  excellence  are  not  ends  in  themselves, 
and  you  are  grateful  for  the  three  windows  piercing  the 
upper  part  of  the  reredos  suggesting  greater  glories  be- 
yond. 

Standing  at  the  foot  of  the  center  aisle  you  observe, 
at  your  right,  a  box  in  which  the  offerings  of  the  faithful 
are  received  and  used  for  the  relief  of  the  poor.  The  figure 
suggesting  Poverty  is  endeavoring  to  sustain  a  heavy  bur- 
den which  may  be  lightened  by  the  offerings  of  the  chari- 
table. Two  of  the  young  people  of  the  parish,  a  brother  and 
sister,  carved  this  and  gave  it  in  memory  of  their  father. 

On  the  north  wall  at  your  right  is  an  interesting  paint- 
ing representating  the  visit  of  the  Magi,  and  attributed 
to  Rubens.  This  is  a  gift  of  Mrs.  Edward  F.  Hutton. 

At  your  left  you  observe  a  large  door  leading  from  the 
nave  into  the  vestibule  of  the  tower.  On  either  side  and, 
over  this  door,  there  is  a  memorial  to  the  twenty  parish- 
ioners who  gave  their  lives  in  the  World  War,  and  to  the 
three  hundred  and  thirty  others  who  enlisted  in  the  serv- 
ice.* 

Let  us  now  walk  up  the  center  aisle  to  the  chancel  and 
study  the  reredos,  remembering  that  it  will  be  well  to 
come  again  at  some  quiet  hour  bringing  a  strong  pair  of 
opera  glasses  in  order  that  we  may  attain  the  most  inti- 
mate contact  with  this  great  work,  assured  that  our  care- 
ful study  will  be  richly  repaid. 

•Description  may  be  found  on  page  72. 


1 1 


THE  REREDOS 


You  will  find  on  pages  22  to  30  illustrations  with  key 
numbers  which  will  facilitate  the  identification  of  the 
figures  of  the  reredos.  But  it  is  desirable  that  some  brief 
additional  explanation  should  be  given. 

In  the  centre  of  the  reredos  you  observe  a  cross  which, 
with  the  surrounding  ornamentation,  reminds  the  older 
parishioners  of  Saint  Thomas  of  that  very  beautiful 
work  of  art  by  Augustus  St.  Gaudens  entitled,  "The 
Adoration  of  the  Cross,"  and  which  occupied  in  the  old 
Church  which  burned,  the  place  of  distinction  above  the 
altar.  Unfortunately,  that  great  work  was  only  in  plaster, 
and  the  Rector  was  corresponding  with  St.  Gaudens  on 
the  subject  of  having  it  cast  in  bronze  when  the  church 
burned  and  that  famous  composition  was  destroyed.  Per- 
haps as  brilliant  a  pupil  as  St.  Gaudens  ever  had,  and  one 
who  often  assisted  him  with  important  works,  was  Lee  O. 
Lawrie,  now  a  distinguished  sculptor.  It  was  arranged, 
therefore,  that  when  Mr.  Lawrie  was  appointed  as  sculp- 
tor of  the  reredos  which  had  been  designed  by  Bertram 
Grosvenor  Goodhue  he  should  follow  as  much  as  possible 
the  work  of 'his  master  in  reproducing  in  the  centre  of  the 
reredos  a  similitude  of  that  work  which  had  been  de- 
stroyed. Art  experts  who  have  made  careful  study  of  the 
original,  and  of  this  reproduction,  feel  that  in  no  respect 
does  this  come  short  of  the  original,  while  it  possesses 
many  details  which  make  it  even  more  beautiful. 

The  cross  is  empty,  because  we  worship  not  a  dead 
Christ,  but  a  living  Christ  who  is  risen,  and  who  is  the 
world's  living  Saviour  and  King.  Therefore,  above  the 
cross  you  see  Him  standing  as  the  Ruler  of  Mankind. 

12 


"1 


ST.  THOMAS  CONVINCED 

ENTIRE  GROUP  IN  UPPER  ROOM  SHOWN  ON   PAGE  8 


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»4 


ST.  THOMAS  CHURCH 


Yet  you  are  reminded  of  the  scene  at  the  foot  of  the  cross 
on  Calvary,  because  on  one  side,  at  His  feet,  you  see  St. 
John,  and  on  the  other  side,  His  Mother.  Across  the 
central  part  of  the  cross,  and  the  kneeling  adoring 
angels,  you  observe  texts  which,  with  a  good  pair  of 
glasses,  you  will  discover  are  from  the  central  part  of 
the  Te  Deum  beginning  with  "Thou  art  the  King  of 
Glory,  O  Christ." 

Looking  a  little  closer,  you  will  find  at  the  four  ends  of 
the  cross  the  symbols  of  the  four  Evangelists.  You  observe 
the  cross  surmounted  by  a  Crown,  not  a  crown  of  thorns, 
but  the  Crown  of  the  living  King.  You  see  at  the  foot  of 
the  cross  the  roots  of  a  large  grape-vine,  with  the  tendrils 
climbing  up  on  each  side.  Among  the  roots  you  see  sheep 
feeding.  The  suggestion  of  the  Shepherd  and  the  sheep; 
the  significance  of  the  grapevine  will  be  clear  to  you.  At 
the  very  foot  of  the  cross,  underneath  the  place  where  the 
feet  would  rest,  you  see  a  chalice  as  though  to  catch  the 
wine  of  His  blood.  Around  the  outer  part  of  this  central 
portion  you  will  see  little  pictures  here  and  there,  the 
symbols  of  the  Passion — the  ladder  and  the  spear,  the 
lantern  with  which  the  conspirators  entered  the  Garden 
of  Gethsemane,  the  whip  of  cords  with  which  the  Master 
was  beaten  before  Herod  and  in  one  of  these  little  pictures 
you  will  see  the  cock  crowing.  These  details  should  be 
studied  with  a  good  pair  of  glasses.  You  will  observe  that 
the  work  everywhere  has  been  done  with  the  greatest 
care  and  completeness.  The  most  distant  details,  those 
which  cannot  be  closely  examined,  have  been  executed 
with  the  highest  degree  of  artistic  faithfulness.  It  recalls 
a  remark  of  Phidias,  who  spent  much  time  on  the  hair 
of  a  statue  of  one  of  the  gods.  When  the  sculptor  was  re- 
buked for  it,  and  was  told  that  no  one  would  see  it  because 
the  statue  was  to  be  placed  high  up,  and  the  hair  on  the 
back  of  the  head  could  not  be  seen  at  all,  he  replied, 
"But  the  gods  will  see  it."  Perfect  sincerity  is  one  of 


MESSIANIC  PROPHETS 


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ST.  THOMAS  CHURCH 


the  fundamentals  of  Gothic  art,  and  it  is  to  be  found  in 
every  detail  of  the  reredos. 

Just  above  the  altar  and  beneath  this  cross,  which  we 
have  been  describing,  you  behold  the  scene  in  the  Upper 
Room,  representing  St.  Thomas  convinced  that  he  is  in  the 
presence  of  the  risen  Lord.  He  falls  at  the  Master's  feet 
with  his  arms  outstretched,  crying,  "My  Lord  and  my 
God."  You  note  the  keen  interest  of  the  other  apostles 
who  knew  that  until  now  he  had  refused  to  believe  the 
report  that  the  Master  had  risen.  Obviously,  it  is  the  one 
event  in  the  whole  Gospel  story  most  appropriate  to  ap- 
pear at  this  place,  and  in  this  Church. 

Just  above  this  picture  you  observe  a  little  frieze.  If 
you  were  to  examine  it  more  closely  you  would  discover 
the  heads  of  a  number  of  the  prophets,  and  you  would 
notice  that  in  a  little  circle  around  the  head  of  each  is 
carved  a  text.  The  prophets  are  those  who  foretold  the 
coming  of  Christ,  and  the  texts  present  some  significant 
words  from  their  prophecies.  Around  the  head  of  Isaiah  you 
will  read  "  Behold  a  Virgin  shall  conceive  and  bear  a  child." 

It  is  impossible  to  recount  the  story  or  history  chrono- 
logically, because,  for  reasons  which  will  appear,  this 
would  necessitate  our  jumping  from  place  to  place  in  a 
manner  which  might  bewilder.  Therefore,  let  us  begin 
at  the  very  top.  If  you  were  to  examine  closely  with 
glasses,  you  would  see  over  the  central  window  three 
figures  of  angels  each  bearing  in  her  arms  a  little  child. 
These  were  the  first  Christian  martyrs — the  children 
killed  by  Herod  in  his  search  for  the  Christ  child.  On  either 
side  of  that  window  are  two  figures,  the  one  to  the  left 
St.  Stephen,  and  the  other  St.  Philip.  You  recall  that  St. 
Stephen  is  generally  spoken  of  as  the  first  Christian  mar- 
tyr, and  you  remember  that  as  his  enemies  were  stoning 
him  to  death,  they  laid  his  garments  at  the  feet  of  his 
principal  accuser,  a  certain  Saul  of  Tarsus,  who  became 
well-known  under  another  name,  as  St.  PauL 


NEW  YORK  CITY 


'7 


Over  the  small  window  to  the  left  are  other  figures,  three 
of  the  early  Christian  martyrs,  Polycarp,  Ignatius  and 
Cyprian.  Over  the  window  to  the  right  are  three  other 
saints.  The  central  figure  is  Gregory,  Bishop  of  Rome, 
in  the  year  590.  At  that  time  the  papacy  was  unknown, 
and  we  find  this  particular  bishop  of  Rome  declaring  that 
if  there  ever  came  a  time  when  one  bishop  claimed  su- 
premacy over  the  other  bishops  in  the  Church,  he  ought 
to  be  called  Anti-Christ.  The  love  of  this  bishop  for  music 
we  recall,  for  we  are  familiar  with  the  Gregorian  music. 
It  was  his  keen  interest  in  Britain  which  caused  him  to 
send  Augustine  to  Britain  to  help  to  revive  and  strengthen 
the  Church  which  had  been  planted  there  centuries  before. 
On  his  left  is  St.  Francis  of  Assisi,  who  lived  at  the  end  of 
the  tenth  and  the  beginning  of  the  eleventh  centuries,  and 
who  belongs  to  all  the  world.  On  the  right  is  Savonarola, 
the  noble  martyr  whom  all  of  us  honor. 

Looking  a  little  lower  you  see  four  majestic  figures. 
Beginning  at  the  left,  the  first  is  Chrysostom,  Bishop  of 
Constantinople;  the  second  is  Athanasius,  the  hero  of  the 
first  council  of  the  Church  which  drew  up  the  Nicene 
Creed.  The  third  figure  is  Jerome,  who  first  translated  the 
Bible  into  the  common  speech  of  the  people,  a  version 
which  was  therefore  called,  "The  Vulgate/'  The  fourth 
figure  is  Augustine,  one  of  the  first  of  the  great  theolo- 
gians. 

Looking  lower  still  you  see  four  pairs  of  figures.  The  first 
pair  are  Restitutus  who  was  Bishop  of  London  in  314 
A.  D.,  and  by  his  side  stands  Columba,  one  of  the  great 
British  Saints  who  died  in  the  year  521.  These  two  re- 
mind you  that  the  Church  was  strongly  planted  in  Britain 
long  before  Rome  took  a  hand  in  its  development.  The 
next  pair  are  Augustine,  whom  Gregory  sent  to  England 
in  597,  and  who  became  the  first  Archbishop  of  Canter- 
bury. Next  to  him  stands  Theodore,  also  an  Archbishop 
oi  Canterbury,  whose  disposition  to  show  his  indepen- 


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ST.  THOMAS  CHURCH 


dence  of  Rome  is  worth  remembering.  The  next  pair  are 
the  Venerable  Bede,  the  great  historian  of  Britain,  and 
WycklifTe,  who,  two  hundred  years  before  the  English 
Reformation,  struck  a  note  that  echoed  throughout  all 
England,  and  has  given  him  in  history  the  name  of  "The 
Morning  Star  of  the  Reformation. "  The  last  pair  were 
both  Archbishops  of  Canterbury.  First  you  see  Cran- 
mer,  who,  in  the  reign  of  Henry  VIII,  had  much  to  do 
with  the  reforming  of  the  Prayer  Book.  You  recall  that 
under  Bloody  Mary  of  England  he  was  burned  to  death. 
The  figure  at  his  side  is  Archbishop  Laud,  who  also  was 
martyred  in  1645. 

Coming  a  little  lower,  looking  to  the  right  of  the  figure 
of  our  Lord,  you  see  a  pair  of  figures,  and  to  the  left 
another  pair.  The  pair  on  your  left  are  two  foreign  mis- 
sionary bishops  of  the  Church  of  England,  Bishop  Sel- 
wyn  and  Bishop  Patteson,  whose  stimulating  stories  you 
should  read.  On  the  other  side  are  two  missionary  bishops 
of  our  American  Church,  Bishop  Payne  who  went  out  to 
Africa  in  185 1,  and  Bishop  Williams,  who  went  to  Japan 
in  1874,  each  taking  his  life  in  his  hands.  You  will  observe 
the  significance  of  these  four  missionaries  being  placed  as 
close  as  possible  to  the  figure  of  the  risen  Lord.  They  rep- 
resent the  front  line  of  the  Church's  advance. 

Coming  down  to  the  lowest  line  of  statues  you  see  that 
on  each  side  are  groups  of  four.  I  ask  you  to  look  at  the 
two  in  the  middle  of  each  group.  On  your  left  the  first 
two  are  St.  Matthew  and  St.  Mark,  and  the  two  in  the 
centre  of  the  last  group  are  St.  Luke  and  St.  John.  St. 
Luke  has  an  open  scroll  in  his  hand,  and  if  you  look 
closely  you  will  see  that  on  it  is  a  representation  of  the 
Virgin  and  her  Child,  because  St.  Luke  gives  us  more 
information  concerning  the  infancy  of  our  Lord,  and  the 
life  of  His  Mother,  than  can  be  found  in  any  other  rec- 
ord. As  you  look  at  St.  John  1  ask  you  to  note  that  there 
are  in  the  reredos  three  different  representations  of  him 


NEW  YORK  CITY 


io 


— the  one  before  us,  the  figure  at  the  foot  of  the  cross 
and  as  he  appears  in  the  scene  in  the  Upper  Room.  You 
will  observe  that  the  sculptor  has  been  careful  to  carry 
out  the  likeness.  Having  familiarized  yourself  with  the  like- 
ness in  one  case,  you  could  find  the  other  two  statues 
without  difficulty. 

On  either  side  of  these  two  pairs  of  figures  are  others, 
four  in  all,  in  particularly  prominent  places.  The  first 
one  on  your  left  is  St.  John  the  Baptist.  The  second  figure, 
with  the  arm  upraised,  is  St.  Paul.  His  statue  is  not  ac- 
companied by  the  usual  conventional  book  and  sword. 
Effort  has  rather  been  made  to  present  a  picture  so  strik- 
ing, and  so  typical  of  what  St.  Paul  represents,  that  those 
who  are  acquainted  with  his  character  and  his  work 
might  be  able  to  recognize  his  personality. 

On  the  right  you  observe  another  prominent  figure. 
It  is  that  of  St.  Peter,  and  there  is  at  least  a  possibility 
that  this  statue  has  some  of  the  elements  of  a  portrait, 
for  it  follows  a  representation  of  St.  Peter  which  appears 
on  the  now  famous  chalice  of  Antioch,  which  experts  have 
declared  was  made  by  a  Greek  Christian  goldsmith  in  the 
first  century,  and  these  experts  have  further  concluded 
that  in  many  instances,  the  artist  undoubtedly  endeav- 
ored to  reproduce  portraits  of  Christian  leaders,  person- 
ally known  to  him.  As  you  carefully  observe  this  statue 
of  St.  Peter,  you  find  it  very  convincing. 

The  last  of  these  four  prominent  figures  is  our  own  St. 
Thomas.  In  accordance  with  old  custom  a  place  of  par- 
ticular honor  is  given  to  the  Saint  whose  name  is  borne 
by  the  parish  Church. 

We  have  named  some  of  the  apostles;  let  us  lift  our  eyes 
to  the  others.  The  figure  just  over  that  of  St.  John  the 
Baptist  is  St.  Bartholomew.  The  next  two  are  St.  Philip 
and  St.  James  the  Less.  The  fourth  figure  in  this  more  im- 
portant place  is  St.  James  the  Greater,  almost  always 
represented  with  his  hat  on,  and  a  staff  in  his  hand.  On 


2G 


ST.  THOMAS  CHURCH 


the  right  side  in  this  same  line,  is  the  statue  of  St.  Andrew; 
he  holds  in  his  hand  a  basket  in  which  are  five  barley 
loaves  and  two  small  fishes.  Next  are  St.  Simon  and  St. 
Jude;  and  last  is  St.  Matthias,  who  was  elected  to  be  of 
the  twelve  in  place  of  the  traitor  Judas. 

Now  turn  to  the  extreme  left,  next  to  the  wall.  Before 
describing  the  figures,  I  ask  you  to  observe  a  little  picture 
at  the  very  top;  it  is  the  Expulsion  from  the  Garden  of 
Eden.  If  you  look  closely  you  will  see  that  Adam  is  going 
out  of  the  Garden  with  his  wife,  taking  her  by  the  hand, 
and  yet  standing  between  her  and  the  angel  with  the 
flaming  sword. 

Over  on  your  right,  next  to  the  wall  at  the  top,  is  a  little 
companion  picture,  the  story  of  the  Annunciation.  The 
significance  of  these  two  little  pictures  we  need  not  ex- 
plain here. 

Returning  to  this  row  of  figures,  at  your  extreme  left  on 
the  top,  you  observe  two  of  the  most  distinguished  scholars 
of  the  Church  of  England,  Richard  Hooker  and  Bishop 
Butler.  Beneath  them  is  John  Wesley,  founder  of  the 
Methodists,  who  besought  his  brethren  to  carry  on  the 
great  revival  within  the  Church  and  not  to  leave  it  or 
establish  an  independent  Church.  Below  Wesley  is  Lid- 
don,  the  great  dean  and  preacher  of  St.  Paul's,  London. 
And  the  last  of  this  line  is  Gladstone,  England's  great 
layman. 

Leaving  the  British  line,  and  coming  over  now  to  the 
extreme  right,  we  come  to  the  American  line.  At  the  top 
is  Bishop  Seabury  and  Bishop  White,  the  first  bishops  of 
our  American  Church.  They  have  in  their  hands  the  first 
American  Prayer  Book.  Just  beneath  them  is  a  great  lay- 
man of  the  American  Church,  George  Washington.  Per- 
sonally, I  think  this  is  one  of  the  strongest  statues  of 
Washington  to  be  found  anywhere.  It  repays  careful 
study.  Below  Washington  is  the  figure  of  the  great  bishop 
and  preacher  Phillips  Brooks.  This  row  of  figures  con- 


NEW  YORK  CITY  21 

eludes  with  one  who  was  living  when  his  statue  was 
placed  there — dear  beloved  Bishop  Tuttle,  great  mis- 
sionary bishop  of  the  Far  West,  and  Presiding  Bishop  of 
the  Church  for  many  years. 


COAT  OF  ARMS  OF 
ST.  THOMAS  CHURCH 


TOP  SECTION— LEFT 

[.  ST.  POLYCARP 
2.   ST.  IGNATIUS 


3.   ST.  CYPRIAN 
5.   ST.  JOHN  CHRYSOSTOM 


22 


TOP  SECTION — CENTRE 


4.  ST.  STEPHEN,  PROTOMARTYR 

6.  ST.  ATHANATIUS 

7,  S,  ().  ANGELS  HOLDING  INNOCENTS 


IO-I  I.  ARMS  OF  DIOCESE  AND  PARISH 

12.  ST.  PHILIP  THE  DEACON 

13.  ST.  JEROME 


23 


CENTRAL  SECTION— LEFT 

IC).    BISHOP  HOOKER  25.  BISHOP  SELWYN,  NEW  ZEALAND 

20.   BISHOP  BUTLER  2(5.  BISHOP  PATTESON,  MELANESIA 

2  1.   RESTITUTIUS  27.  ST.  BARTHOLOMEW 

22.   ST.  COLUMBA,   ABBOT  OF  IONA        28.  ST.  PHILIP 

2}.  JOHN   WESLEY  20.  ST.  JAMES  THE  LESS 

24.  CANON  LIDDON 


25 


WJt'mt 


CENTRAL  SECTION — CENTER 


30.  ST.  AUGUSTINE,  CANTERBURY  34.  CHRIST  THE  KING 

}I.  ST.  THEODORE.   CANTERBURY  35.   ST.  JOHN  THE  BELOVED 

32.  ST.  JAMES  THE  GREAT  36.  THE  VENERABLE  BEDE 

33.  BLESSED  VIRGIN   MARY  37.  JOHN  WYCLIFFE 

38.  ST.  ANDREW 


26 


CENTRAL  SECTION— RIGHT 


39.  ARCHBISHOP  CRANMKR 

40.  ARCHBISHOP  LAUD 

42.  BISHOP  SEABURY 

43.  BISHOP  WHITE 

44.  BISHOP  PAYNE 


45.  BISHOP  WILLIAMS 

46.  GEORGE  WASHINGTON 

47.  ST.  SIMON 

48.  ST.  JUDE 

49.  ST.  MATTHIAS 


50.    BISHOP   PHILLIPS  BROOKS 


27 


LOWER  SECTION  CENTER 

55.  ST.   PAUL  THE  ALTAR  56.  ST.  PETER 


29 


JO 


THE  CHANCEL 


The  doors  on  either  side  of  the  altar  are  interesting. 
Over  the  door  on  your  right  are  little  angelic  figures,  but 
over  the  door  on  the  left  are  some  figures  that  were  carved 
while  the  World  War  was  waging,  and,  therefore,  in  ac- 
cordance with  old  tradition,  that  history  has  been  woven 
into  the  carvings.  On  the  left  at  the  top  of  the  door  you 
see  one  of  our  soldier  boys  saying  a  prayer  before  he  goes 
"over  the  top."  Opposite  him  is  one  of  our  boys  of  the 
navy.  In  the  centre  is  a  Red  Cross  nurse  with  her  hands 
outstretched  in  benediction  over  both  of  them,  a  modern 
angel. 

Observe  that  on  a  little  piece  of  iron  that  covers  the 
keyhole  in  these  doors  has  been  traced  an  outline  of  the 
whole  reredos.  A  bit  of  iron  covering  the  keyhole  is  a 
small  detail,  and  yet  all  of  the  iron  work  used  here,  and 
throughout  our  Parish  House,  was  made  by  hand,  and 
some  of  the  carvings,  especially  on  the  locks,  is  extremely 
interesting  and  beautiful. 

On  your  left  you  will  see  the  Bishop's  Seat,  and  on 
either  side  the  Clergy  Seats.  On  the  arms  of  these  are 
to  be  found  carvings  of  the  heads  of  Moses,  Aaron,  Ti- 
mothy, Titus,  Ignatius,  and  Polycarp.  On  the  front  of 
the  kneelers  will  be  seen  representations  of  the  Consecra- 
tion of  Bishop  Seabury  and  Bishop  White;  the  charge 
to  St.  Peter;  the  Laying  on  of  Hands.  Bishop  Greer  laying 
the  cornerstone  of  St.  Thomas.  Bishop  Greer  consecrat- 
ing St.  Thomas  Church. 

On  the  opposite  side,  that  is  on  your  right,  are  Sedilia 
for  assistant  clergy.  Along  the  top  are  emblems  of  the 

3' 


THE  BISHOP'S  SEAT 


32 


34 


ST.  THOMAS  CHURCH 


four  evangelists.  Lower  are  suggested  likenesses  of  the 
three  bishops  of  the  Church  who  were  formerly  assistant 
ministers  in  St.  Thomas,  Bishop  Courtney,  Bishop  White- 
house,  Bishop  Mackay-Smith.  Here  also  are  to  be  seen 
four  carvings  representing  four  deacons,  St.  Stephen,  St. 
Philip,  St.  Lawrence,  St.  Francis. 

The  altar  itself  is  presented  with  sublime  simplicity, 
as  though  its  significance  transcended  man's  power  of 
expression.  The  only  suggestion  of  ornamentation  is  to 
be  found  in  an  ancient  Christian  symbol  which  contains, 
in  abbreviated  Greek  form,  the  words  "Jesus  Christ 
Conquers."  The  altar  rail  is  of  the  finest  oak,  and  the 
bronze  panels  contain  ancient  Christian  symbols  of  the 
Eucharist.  Beginning  at  the  left,  they  are,  the  Chalice, 
and  Paten;  the  pelican  feeding  her  young  with  the  blood 
from  her  own  breast;  the  fish,  the  meaning  of  which  is 
especially  well-known  to  Greek  scholars;  the  pomegran- 
ate; wheat  with  the  inscription  "Panis  Vitae" — The  Bread 
of  Life;  the  crowned  Sacrament;  grapes  with  the  inscrip- 
tion "Vitis  Vera" — "The  true  vine,"  the  Greek  symbol 
of  the  Sacrament.  These  same  symbols  are  represented 
on  the  other  half  of  the  rail.  At  the  ends  of  the  two  halves 
of  the  rail  are  four  carved  angels,  bowing  humbly  before 
the  altar. 

This  rail  (as  was  also  the  one  in  former  Church  destroyed 
by  fire,  in  1905)  was  the  gift  of  Mrs.  William  Gayer 
Dominick,  in  memory  of  her  husband. 

Within  the  chancel,  on  the  north  side  is  the  aumbry, 
on  the  front  of  which  are  some  of  the  finest  and  most 
beautiful  examples  of  wood  carving  to  be  found  in  the 
Church.  These  are,  left  to  right  figures  of  Aaron,  Bishop 
Greer,  Miriam  and  Virgin  and  Child. 


WHEAT  VINE 

SECTIONS  OF  THE  CHANCEL  RAIL 


35 


36 


TILING,  WOOD  CARVING,  ETC. 


In  front  of  the  chancel  rail  will  be  found  in  the  tiled 
pavement  left  to  right  seven  panels  entitled,  Penitence, 
Holy  Orders,  Baptism,  Holy  Communion,  Confirmation, 
Matrimony,  Prayer. 

The  greater  part  of  the  wood  carving,  all  of  which  is 
the  gift  of  Mr.  Charles  Steele  is  outside  the  chancel  rail. 
While  it  is  not  practicable  to  describe  all  in  detail,  an 
observer  will  find  many  emblematic  carvings  on  most  of 
the  wood  and  stone  work  throughout  the  Church. 

Turning  to  the  right  from  the  chancel  rail  and  facing 
north,  beginning  at  the  rail  there  are  above  and  back  of 
the  choir  seats  a  series  of  gargoyles  running  from  left  to 
right,  of  persons  of  note  contemporary  with  the  World 
War.  These  wood  carvings  are  in  the  following  order. 
King  George  of  England,  King  Albert  of  Belgium,  Clemen- 
ceau,  Poincare,  Lloyd  George,  Marshal  Haig,  Admiral 
Beatty,  JofTre,  Naval  Aviator,  Service  of  Supply,  Red 
Cross  Nurse,  Dr.  Noble,  organist,  Mr.  Steele,  donor  of 
chancel  woodwork,  Mr.  Goodhue,  architect,  Doctor 
Stires,  rector,  Mr.  Casson,  woodworker. 

In  the  recess  back  of  these  gargoyles  will  be  found  within 
the  various  arches  fine  carvings  of  the  Arms  of  many  of 
the  Dioceses  of  the  Church  in  America.  Examples  of  these 
Diocesan  Arms  and  gargoyles  are  shown  on  pages  40  and  4 1 . 

Below  these  gargoyles  are  carved  on  the  face  of  Miserere 
Seats  (last  row  of  choir)  figures  representing  various 
Biblical  quotations.  From  left  to  right,  they  are,  Lion 
eating  straw  like  the  ox,  The  dove  and  ark,  The  cow  and 
the  bear  shall  feed  . . .  together,  The  swallow  hath  found  a 

37 


58 


ST.  THOMAS  CHURCH 


place  to  rear  her  young — even  thine  altar,  O  Lord,  The 
wolf  and  the  lamb,  A  phoenix,  Young  lions  seeking  their 
prey,  Foxes  have  their  holes,  Russian  bear  being  doped, 
The  Gallic  Cock,  Vine — Rector's  seat. 

Carved  on  the  face  of  the  choir  seats  in  front  of  the 
Miserere  are  nine  panels,  representing  events  in  the  Old 
Testament.  From  left  to  right,  Adam  and  Eve  expelled 
from  Eden,  Sacrifice  of  Isaac,  Jacob's  Dream,  Crossing 
the  Red  Sea,  David  and  Goliath,  Solomon  building  the 
Temple,  Elijah  rebuking  Ahab  and  Jezebel,  Belshazzar's 
Feast,  Nehemiah  rebuilding  Jerusalem. 

On  the  front  of  choir  stalls  are  carved  panels  emblem- 
atic of  various  industries  and  occupations.  From  left  to 
right:  Physician,  Engineer,  Banking,  Author,  Architect, 
Musician,  Wireless  Telegraphy,  Railway,  Blacksmith, 
Telephone,  Sculptor  (Lee  O.  Lawrie)  Steamship,  Theodore 
Roosevelt,  Ship  of  Christopher  Columbus. 

When  crossing  from  north  to  south  side  of  chancel  one 
should  notice  in  the  tiling  representations  for  the  Arms  of 
St.  Thomas  Parish,  The  City  of  New  York,  The  United 
States,  The  Diocese  of  New  York,  and  The  State  of  New 
York. 

Above,  and  beginning  on  line  with  south  end  of  chan- 
cel rail,  proceeding  from  right  to  left  are  a  continuation  of 
the  series  of  gargoyles  similar  to  those  on  north  side  of 
chancel.  These  are:  Robert  G.  Lansing,  President  Wil- 
son, Premier  Paderewski,  King  Victor  Emmanuel  of 
Italy,  Admiral  Mayo,  General  Pershing,  Marshal  Foch, 
French  Admiral,  General  March,  Herbert  Hoover,  Gen- 
eral Allenby,  The  Army,  Red  Cross,  Artillery,  Bishop 
Burch,  Bishop  Brent,  Burgomaster  Max,  and  Cardinal 
Mercier. 

Below  these  are  a  continuation  of  carvings  on  the  face  of 
the  Miserere  seats  as  on  the  north  side  of  chancel.  From 
right  to  left,  these  are:  Salvation  Army  Lass,  Dead  Lion 
"out  of  the  strong  cometh  sweetness,"  Capital  and  Labor 


NEW  YORK  CITY 


^9 


Binding  Industry,  American  Eagle  plucking  the  Imperial 
Eagle,  Prohibition  overturning  Bacchus,*  St.  George  and 
Dragon,  St.  Christopher  the  patron  Saint  of  Travelers, 
Philip  baptizing  Ethiopian  Eunuch. 

On  the  face  of  choir  seats  arranged  from  right  to  left 
is  a  continuation  of  the  carved  panels  which  represent: 
Church  in  America,  Nativity,  The  Magi  and  Shepherd, 
Feeding  the  Multitude,  Pentecost,  St.  Paul  at  Mars  Hill, 
Martyrdom  of  Bishops  Cranmer,  Latimer,  and  Ridley, 
Missions,  Allenby  entering  Jerusalem. 

On  the  fronts  of  the  choir  seats  on  south  side  of  the 
chancel  are  continued  the  series  of  engraved  panels  em- 
blematic of  various  industries  or  occupations:  left  to 
right  these  are  Henry  Hudson's  Ship  the  Half  Moon, 
Statesman,  Abraham  Lincoln,  Airplane,  Painting,  Auto- 
mobile, Fulton's  Steamboat  the  Clermont,  Telegraph,  Air- 
ship, Wood  Carver,  Cotton  Growing,  Electrician,  Iron 
and  Steel,  Teacher,  Lawyer. 

On  the  north  side  of  chancel  is  the  Rector's  seat,  on 
back  of  which  is  carved  a  panel  representing  the  Ascension 
and  on  the  side  figures  representing  Dante  and  Jeremy 
Taylor,  while  on  front  of  kneeler  are  figures  of  St.  Augus- 
tine and  Thomas  a  Kempis. 

At  the  south  side  of  chancel  are  two  seats  for  Assis- 
tant Ministers.  On  front  of  kneeler  for  the  one  further 
back  is  a  carved  panel  representing  Conversion  of  St. Paul, 
and  on  the  back  of  the  other  a  panel  representing  the  Coun- 
cil of  Nicaea.  On  front  of  kneeler  are  figures  of  Milton  and 
Bunyan,  while  at  the  side  are  Chaucer,  Shakespeare  and 
Pusey. 

*lt  may  be  significant  to  note  that  in  this  piece  of  carving  Prohibition  is  depicted  by  a  female 
figure  representing  the  Women's  Christian  Temperance  Union,  and  a  lemon  is  more  than  counter- 
balancing the  grapes. 


SOME  GARGOYLES 

BERTRAM  G.  GOODHUE — REV.   ERNEST  M.  STIRES 
EXAMPLES  OF  DIOCESAN  ARMS 


4" 


GENERAL   PERSHING  MARSHAL  FOCH 


MORE  GARGOYLES 


41 


THE   LION   EATING  STRAW  I.IKE  THE  OX 


THE  SWALLOW  REARING  HER  YOUNG 


THE  RUSSIAN  BEAR — DOPED 


THE  COW  AND  THE  BEAR  FEEDING  TOGETHER 


EXAMPLES  OF  MISERERE  CARVINGS— NORTH 
42 


ELIJAH  REPROVING  AHAB  AND  JEZEBEL 


belshazzar's  FEAST 


THE  CHURCH  IN  AMERICA 


ST.   PAUL  AT  MARS  HILL 


PAXI  LS  <  >\ 


ALLENBY  ENTERING  JERUSALEM 

FACE  OF  CHOIR  SEATS— SOUTH 
47 


PANEL  HENRY  HUDSON'S  SHIP 
THE  HALF  MOON 

FRONT  OF  CHOIR  STALL 


48 


ST.  THOMAS  CHURCH 


THE  LECTERN 

Leaving  the  chancel  steps  on  the  south  side  is  the 
lectern  on  which  are  carved  figures  representing  Job, 
Isaiah,  Moses,  and  Elijah  from  the  Old  Testament,  and  the 
four  evangelists,  Saints  Matthew,  Mark,  Luke  and  John 
from  the  New  Testament. 


THE  PULPIT 


Proceeding  to  north  side  the  pulpit  will  be  found  with 
carved  figures,  left  to  right  (most  of  them  portraits),  of 
William  Boyd  Carpenter,  Bishop  of  Ripon ;  Canon  Far- 
rar,  Dean  of  Westminster;  Henry  C.  Potter,  Bishop  of  New 
York;  Phillips  Brooks,  Bishop  of  Massachusetts;  Thomas 
Underwood  Dudley,  Bishop  of  Kentucky;  Henry  Parry 
Liddon,  Canon  of  St.  Paul's,  London;  John  Henry  (Car- 
dinal) Newman,  Oratorian;  William  C.  Magee,  Archbishop 
of  York;  John  WyclifTe,  Rector  of  Lutterworth;  John 
Chrysostom,  Bishop  of  Alexandria;  Girolemo  Savonarola, 
O.  P.  Florence;  Frederic  W.  Robertson,  Trinity  Church, 
Brighton,  England;  John  Wesley,  Lincoln  College,  Oxford; 
Frederick  Denison  Maurice,  England;  Frederick  Monod, 
foundator  of  the  Evangelical  Church  in  France;  Jacques 
Benedict  Bossuet,  Bishop  of  Dijon;  Jean  Baptiste  Mas- 
sillon,  Bishop  of  Clermont;  Frederick  Courtney,  Bishop  of 
Halifax;  William  R.  Huntington,  Rector  of  Grace  Church, 
New  York.  All  were  distinguished  preachers. 

On  the  top  of  the  sounding  board  of  the  pulpit  is  carved 
a  dove  emblematic  of  the  inspiration  of  the  Holy  Spirit. 

The  sounding  board  is  surmounted  by  a  frieze,  repre- 
senting seven  Old  Testament  prophets,  with  quotations 
from  their  prophesies,  viz:  Isaiah,  Jeremiah,  Ezekiel, 
Daniel,  Micah,  Zechariah  and  Amos. 

The  pulpit  is  a  gift  of  Mrs.  Samuel  H.  Valentine,  in 
memory  of  her  husband. 


52 


53 


THE  CALVARY  CROSS 

Set  into  the  pillar  to  the  right  of  the  pulpit  is  a  Latin 
cross  made  from  stone  used  formerly  as  part  of  a  series 
of  steps  in  the  Greek  Chapel  of  the  Church  of  the  Holy 
Sepulchre  at  Jerusalem  which  is  said  to  be  built  at,  or 
near  Mount  Calvary.  These  stones  were  obtained  with 
great  difficulty,  by  two  devoted  members  of  the  Parish 
(Mr.  and  Mrs.  Howard  S.  Rodgers)  and  after  reaching 
New  York  were  fashioned  into  the  cross  which  was  put 
in  place  for  the  centennial  celebration  of  the  Parish  in 
December,  1923. 

At  the  foot  of  the  pillar  is  a  prayer  desk,  upon  which 
is  carved  the  inscription:  Fountain  of  Mercy,  Fountain  of 
Pity,  Fountain  of  Everlasting  Life,  Fountain  of  Comfort, 
Fountain  of  Grace. 

LITANY  DESK 

At  the  head  of  the  center  aisle  is  a  beautifully  carved 
litany  desk,  a  gift  of  Miss  Margaret  C.  Hurlbut,  in  mem- 
ory of  her  aunt,  Mrs.  Ella  Crane  McClure.  The  kneeler 
is  inscribed  with  the  petition,  "O  Christ  hear  us." 

CHANCEL  PARAPET  MOSAICS 

In  proceeding  from  lectern  to  pulpit,  one  will  pass  in 
front  of  the  chancel  parapet  of  stone,  ornamented  with 
mosaics.  Left  to  right  there  are  four  representing  the 
Church  as  a  Ship,  as  a  Lighthouse,  as  a  City  of  Refuge,  as 
the  Kingdom  of  God  for  all  people.  To  the  right  of  these 
are  four  other  mosaics,  representing  Rheims  Cathedral, 
Union  of  Blue  and  Gray,  1865,  Independence  Hall,  1776, 
and  First  Communion  at  Jamestown,  1607. 

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NEW  YORK  CITY  55 


A  PANEL  OF  THE  CHANCEL  PARAPET 

A   PANEL  OF  THE  CHANCEL   PARAPET,  COMMEMORATING 
THE  GREAT  WAR 


A  panel  of  the  chancel  parapet  commemorates  the 
World  War.  In  the  center  is  a  representation  of  Rheims 
Cathedral,  and  the  stone  from  which  the  picture  is  made 
was  obtained  at  the  Cathedral  on  August  31,  19 18,  by 
Dr.  Stires,  former  Rector  while  acting  as  a  Chaplain  in 
France  during  the  World  War.  In  the  circle  are  the  names 
of  certain  great  engagements  in  which  Americans  partici- 
pated. In  the  fleur-de-lys  at  the  top  can  be  seen  the  name 
Amiens;  in  the  one  at  the  right,  Albert;  the  one  at  the  left 
is  from  Peronne.  These  are  bits  of  stone  from  these  three 
great  Cathedrals  which  suffered  in  the  war. 


UNITED  STATES  GREAT  BRITAIN 


56 


ANCIENT  KINGDOM  OF  RUSSIA 

ARMS  OF  THE  ALLltS 


57 


ARMS  OF  THE  ALLIES 


Arranged  from  left  to  right  above  the  stone  parapet  are 
panels  engraved  with  Coats  of  Arms  of  some  of  the  Allies 
in  the  World  War:  Italy,  France,  Serbia,  United  States, 
Great  Britain,  Ancient  Kingdom  of  Russia,  and  Belgium. 

TAPESTRY 

Over  the  door  leading  to  the  Parish  House  is  a  tapestry 
depicting  Moses  casting  down  the  Table  of  the  Law  when 
he  found  Israel  worshipping  the  golden  calf.  This  was  given 
by  Mrs.  Louis  Bennett  in  memory  of  her  son  Louis  Ben- 
nett, killed  in  the  World  War. 


THE  TAPESTRY 


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NEW  YORK  CITY 


59 


THE  ORGAN  AND  CASE 

Before  leaving  the  chancel  one  should  take  note  of  the 
woodwork  of  the  organ  case  on  north  side  of  Church.  There 
will  be  found  carved  figures  representative  of  Jubal  "the 
father  of  all  such  as  handle  the  harp  and  organ  (Gen.  4: 
21);  David  with  his  harp,  St.  Ambrose,  founder  of  the  first 
system  of  Church  music;  St.  Gregory,  who  developed  a 
system  of  plain-song;  and  below,  Miriam  with  her  cym- 
bals, singing  her  song  of  triumph  after  the  crossing  of 
the  Red  Sea,  and  St.  Cecilia  the  patron  of  music.  Above 
these  figures  are  two  angels,  kneeling  with  a  shield  con- 
taining the  arms  of  St.  Thomas  Parish,  between  them. 
The  organ  is  the  gift  of  Mrs.  Georgie  B.  de  Heredia  and 
Mrs.  Marianne  C.  McDougall  in  memory  of  their  parents, 
Henry  H.  Cook  and  Mary  McCay  Cook. 


THE  ORGAN  CASE  AND  NORTH  SIDE  OF  CHOIR 


ANGELS  BEARING  THE  ARMS  OF  THE  PARISH 


THE  BIBLE 


On  the  Lectern  is  a  beautiful  Bible.  The  Bible  was  given 
as  a  thank-offering  on  All  Saints  Day,  19 16,  by  Miss  Flor- 
ence S.  Sullivan.  It  is  bound  in  heavy  brown  pigskin.  Super- 
imposed on  the  upper  cover  is  a  hand-wrought  copper  gilt 
frame,  enclosing  four  ivory  panels — the  two  upper  panels 
represent  events  in  the  Old  Testament:  "Moses  with  the 
Decalogue,"  "Solomon  consulting  about  the  building  of  the 
Temple."  The  two  lower  panels  have  New  Testament 
names,  one  "St.  Thomas  at  the  feet  of  the  Master,"  and 
the  other  representing  "The  Descent  of  the  Holy  Ghost." 

The  four  panels  are  linked  at  the  centre  with  the  Agnus 
Dei  and  from  this  spreads  the  tree  of  Life,  upon  which 
the  Vine  is  twined.  This  forms  a  cross  which  ends  in  three 
circles,  emblems  of  the  Trinity.  Intertwined  in  the  vine 
are  the  emblems  of  the  Twelve  Apostles:  for  St.  Peter 
the  crossed  keys;  for  St.  Matthias  the  scimiter  and  book; 
for  St.  Jude,  the  ship;  for  St.  Simon  the  saw  and  oar 
crossed;  for  St.  Matthew  three  money  bags;  for  St.  Bar- 
tholomew a  knife  on  an  open  book;  for  St.  Thomas  a 
square  and  a  spear;  for  St.  James  the  Less  a  saw;  for  St. 
Philip  a  basket;  for  St.  John  a  chalice  with  protruding 
serpent;  for  St.  James  the  Great  three  scallops  and  for 
St.  Andrew  a  V-shaped  square.  The  symbolism  is  further 
emphasized  by  a  peacock,  as  emblem  of  immortality,  a 
phoenix  rising  from  the  flames,  a  pelican  feeding  her 
young  with  her  life's  blood  and  a  serpent.  The  four  cor- 
ners have  bosses  of  topaz,  each  stone  centred  in  the  em- 
blems of  the  four  evangelists:  "the  Lion,  the  Ox,  the  Man 
and  the  Eagle."  These  bosses  are  duplicated  on  the  under 

61 


62 


ST.  THOMAS  CHURCH 


cover  of  the  book.  The  leaves  of  the  text  are  heavily  gilt 
and  goffered  with  a  diaper  pattern  in  which  the  arms  of 
St.  Thomas,  the  spear  and  the  carpenter's  square,  con- 
stantly appear.  The  design  is  the  work  of  Clarence  S. 
Stein,  aided  by  several  other  artists  and  craftsmen,  the 
whole  being  under  the  supervision  of  Bertram  Grosvenor 
Goodhue,  one  of  the  architects  of  the  church. 


SOUTH  BALCONY 

On  the  end  of  the  balcony  to  the  left  of  the  lectern  are 
carved  figures  emblematic  of  a  Presbyterian  Church  in 
United  States,  Church  of  England,  Greek  Church,  Church 
of  Rome,  Episcopal  Church  and  Church  Council  of 
the  United  States. 

MORGAN  BUST  . 

Looking  beneath  this  Balcony,  against  the  West  wall 
beyond  a  flight  of  steps  is  a  bronze  bust  of  the  Rev. 
William  F.  Morgan,  D.  D.,  Rector  of  the  Parish  from  1857 
to  1888.  It  was  under  Dr.  Morgan's  Rectorship  that  the 
Church  moved  from  Broadway  and  Houston  Street  to 
Fifth  Avenue  and  53rd  Street. 


THE  BIBLE 


THE  BAPTISMAL  FONT 


Proceeding  towards  the  front  entrance  to  the  right  are 
the  baptismal  font  and  chancel  of  the  Chantry.  The  font 
is  of  stone  and  into  it  have  been  set  a  number  of  little 
mediations  made  from  fragments  of  the  old  font  which 
stood  in  the  Church  destroyed  by  fire  in  1905.  The  bowl 
of  the  font  is  surmounted  by  a  series  of  folding  doors  which 
close  like  a  hood.  The  figures  painted  within  the  doors 
represent  seven  cardinal  virtues  given  to  a  child  at  Bap- 
tism. The  Latin  names  above  each  of  them  indicates: 
Chastity,  Temperance,  Faith,  Love,  Hope,  Prudence, 
Justice  and  Fortitude.  Each  maiden  bears  in  her  hand 
her  appropriate  symbol  as  the  lily  for  Chastity,  the  horse's 
bit  for  Temperance,  etc.  Underneath  each  figure  is  in- 
scribed the  name  of  the  opposite  vice,  spelled  backwards, 
in  token  that  the  vice  has  been  conquered  and  trampled 
under  foot.  Above  the  font  is  painted  the  dove  symbol  of 
the  Holy  Ghost.  The  font  and  fittings  are  a  memorial 
gift  by  John  Hadden,  Alexander  M.  Hadden,  and  other 
descendants  of  David  Hadden  and  his  wife  Anne  Aspinwall 
Hadden. 

CHANTRY  CHANCEL 

To  the  left  of  the  font  is  the  chancel  of  Chantry.  The 
reredos,  altar  and  all  the  fittings  are  a  memorial  gift  by 
Mrs.  Hamilton  McKay  Twombly  and  her  daughters. 
On  the  reredos  are  panels  representing  from  left  to  right: 
The  Baptism  of  Jesus,  Marriage  Feast  at  Cana  of  Galilee, 
Resurrection  of  Lazarus.  On  the  front  the  altar  is  in- 
scribed :  "  Come  unto  Me  ye  that  are  heavy  ladened, "  and 
"This  is  My  Blood.  Drink  it  in  remembrance  of  Me." 
This  altar  and  reredos  is  a  replica  of  one  in  Florence, 

64 


THE  CHANTRY  ALTAR  AND  REREDOS 


66 


THE  VESTRY  ROOM  CEILING 


In  the  center  of  the  ceiling  is  a  reproduction  of  the 
Seal  of  the  Parish.  Around  the  borders  are  pictured  all 
the  plants  and  animals  mentioned  in  the  Bible  with  the 
appropriate  inscription:  " Let  everything  that  hath  breath 
praise  the  Lord." 

On  the  plaster  beams  is  an  effective  symbolic  border  of 
thorns  and  grape-vine. 

At  one  end  of  the  room  is  depicted  Truth  and  at  the 
other,  Error — blindfolded. 

THE  GUILD  HALL 

Along  the  base  of  the  gallery  in  the  Guild  Hall  are  rep- 
resented the  chief  children's  Saints,  as  the  room  is  used 
for  Sunday  School.  These  are  Hannah  with  the  infant 
Samuel  in  her  arms,  St.  Christopher  bearing  the  Christ- 
Child,  St.  Nicholas  with  the  babies  in  his  basket,  St. 
Elizabeth  with  St.  John  Baptist.  Between  these  figures 
are  numerous  emblematic  bosses. 


67 


68 


69 


FUTURE  OBJECTS  OF  INTEREST 


THE  WINDOWS 

While  the  windows  in  front  and  back  of  the  Church  have 
been  generally  admired,  they  as  well  as  those  in  the  nave 
and  Chantry  are  regarded  as  only  temporary.  The  only 
permanent  window  in  the  clerestory  is  the  third  one  from 
the  west  on  the  south  side  of  the  Church. 

This  window,  the  gift  of  Mrs.  William  A.  M.  Burden  and 
her  sons  in  memory  of  her  husband  and  their  fathers  illus- 
trates Faith  and  has  as  its  proponents  and  champions  the 
following  figures.  In  the  centre  lancet  is  St.  Thomas  the 
Apostle  holding  an  architect's  T-square,  St.  Thomas  having 
been  recognized  as  the  patron  of  architects  and  builders. 

Below  St.  Thomas  in  the  lower  level  of  the  window  is  a 
predella  depicting  the  incident  when  Our  Lord  revealed 
himself  to  St.  Thomas  and  St.  Thomas  at  last  convinced 
exclaims — "my  Lord  and  my  God." 

Next  to  St.  Thomas  on  the  left  is  Nathaniel  "an  Israel- 
ite indeed  in  whom  is  no  guile. "  Nathaniel  holds  a  scroll  on 
which  one  reads  this  legend — "and  prayed  to  God  always." 

Next  to  St.  Thomas  on  the  right  is  Cornelius  the  Cen- 
turion holding  a  sword  as  the  symbol  of  his  calling,  and  a 
ribbon  on  which  is  written  his  question  of  fealty,  "What 
is  it  Lord?" 

On  the  extreme  left  panel  is  shown  Zaccheus  holding 
fast  to  a  great  vine  or  tree  waiting  to  see  Our  Lord  pass  by, 
with  the  legend  beneath :  "  Zacchaeus  make  haste  and  come 
down  for  today  I  abide  at  thy  House." 

In  the  extreme  right  lancet  of  this  window  we  find  blind 
Bartimeus  holding  a  long  staff  in  his  hand,  as  he  gropes 

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NEW  YORK  CITY 


7i 


his  way  through  the  highway.  Below  him  is  a  predella  de- 
picting the  familiar  story  of  Christ  healing  the  blind. 

All  of  the  window  is  developed  in  the  manner  of  the  glass 
stainers'  art  of  the  thirteenth  andfourteenth  centuries,  using 
the  simple  arrangements  of  color,  characteristic  of  that 
period,  the  window  having  a  geometrical  pattern  as  a  back- 
ground while  the  tracery  tops  of  the  window  are  treated 
in  a  similar  manner,  but  with  the  addition  of  angelic 
figures  of  praise  and  adoration.  The  color  scheme  and 
general  design  of  the  window  has  the  glass  of  Chartres 
Cathedral  as  its  inspiration  and  prototype,  Mr.  D'Ascenzo 
the  artist  having  spent  many  weeks  in  the  careful  study 
of  the  famous  old  glass  of  the  cathedral. 

The  first  of  a  group  of  eight  windows  suggests  the  gos- 
pel, with  St.  John  and  the  other  Evangelists. 

Another  window  suggests  "the  word  became  flesh"  and 
will  contain  the  figures  of  Simeon,  Anna,  Joseph,  Mary 
and  Our  Lord. 

A  third  window — "  I  am  the  resurrection  and  the  life," 
the  spiritual  awakening,  will  contain  the  figures  of  The 
woman  of  Samaria,.  Lazarus,  Nicodemus,  Andrew  and 
Mary  of  Bethany,  to  whom  Our  Lord  gave  the  message 
of  rebirth  and  immortality. 

Other  windows  in  this  series  of  the  south  side  of  the 
clerestory  will  suggest  the  Crucifixion,  Faith,  the  organi- 
zation of  the  church,  the  first  missionary  movement  and 
the  later  history  of  the  church  through  the  English  com- 
munion. 

These  windows  will  ultimately  become  part  of  a  decora- 
tive scheme  illustrating  the  gospel  message  of  the  Incar- 
nation, the  Atonement  and  the  spreading  of  the  Gospel 
of  Our  Lord  Jesus  Christ. 

In  the  clerestory  on  south  side  of  chancel,  are  "The 
Stars  and  Stripes"  and  the  Parish  flag,  the  latter  having 
been  given  by  the  New  World's  Service  Club  of  St.  Thomas 
Church. 


THE  WAR  MEMORIAL 
72 


NEW  YORK  CITY 


73 


THE  WAR  MEMORIAL 


Cut  on  the  wall,  over  the  door  of  the  southeast  porch  of 
the  Church,  is  the  War  Memorial,  poignant  and  brief  in  its 
simplicity  and  eloquent  in  its  symbolism.  On  either  side 
of  the  door  are  the  names  of  the  three  hundred  and  thirty- 
five  men  and  women  of  the  Parish  who  served  in  the  World 
War,  surmounted  (left)  by  the  words, 

"they  endured  as  seeing  him  who  is  invisible," 
and  (right), 

"i  WAS  NOT  DISOBEDIENT  UNTO  THE  HEAVENLY  VISION." 

Above  these,  in  gold,  are  the  names  of  the  twenty  who 
died  in  service, 


Samuel     Dennison  Babcock, 

American  Red  Cross,  France. 
Lieut.  Louis  Bennett,  Jr.,  40th 

Squadron,    Royal   Air  Force, 

British  Army. 
Joseph  Rathbone  Cushman, 

Corporal,  U.  S.  Army. 
Charles  Loomis  Dana,  Jr.,  13th 

Regiment,  U.  S.  Marine  Corps, 

France. 

Major  Clarence  Fahnestock, 
301st  Infantry,  76th  Division  U. 
S.  Army,  on  duty  with  General 
Staff,  Hdqrs.  A.  E.  F.  France. 

Lieut.  Alfred  Wild  Gardner, 
D.  S.  C,  305th  Infantry,  77th 
Div.,  U.  S.  A.  France. 

James  Pearson  Goodspeed,  Fly- 
ing Corps,  U.  S.  Navy. 

David  B.  McCoss,  Sergeant,  U. 
S.  Army. 

Lieut.  John  Bard  McVickar, 
Aviation  Corps,  U.  S.  Army, 
A.  E.  F.,  France. 

Lieut.  Harold  Nixon  Mat- 
thews, U.  S.  Coast  Artillery. 


Lieut.  Charles  Armand  Min- 
ton,  D.  S.  C,  305th  Infantry, 
77th  Div.,  U.  S.  A.,  France. 

Michael  Mitchell,  106th  In- 
fantry, 27th  Div.,  U.  S.  Army. 

Howard  Morgan,  307th  Infan- 
try, 77th  Div.,  U.  S.  Army. 

Charles  Howard  Peck,  Jr., 
Sergeant,  Medical  Corps,  U.  S. 
Army,  France. 

Ensign  John  Van  Wicheren 
Reynders,  Jr.,  U.  S.  Naval 
Aviation. 

Capt.  John  Scranton  Shaw, 
305th  Infantry,  U.  S.  Army, 
France. 

Irving  Albert  Slicklen,  S.  S. 
Tampa,  Bristol  Channel,  Eng- 
land. 

Stephen  Higginson  Tyng,  Jr., 

U.  S.  Marines. 
Capt.  Ray  W.  Whidden,  British 

Medical  Corps,  France. 
Coleman    Hawley  Williams, 

Aviation  Section,  Signal  Corps, 

U.  S.  Army. 


surmounted  by  the  words  (left), 

"whoever  shall  lose  his  life  for  my  sake,  shall 

FIND  IT," 

and  (right), 

"AS  DYING  YET   BEHOLD  WE  LIVE!" 


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NEW  YORK  CITY 


75 


The  shields,  representing  the  various  branches  of  the 
Service,  are  placed  five  on  either  side  of  the  door  and  are 
those  of  the  Army,  Navy,  Marine  Corps,  Red  Cross, 
Service,  Y.M.C.A.,  Infantry,  Artillery,  Air  Service,  Medical 
Corps,  and  Engineers. 

The  lintel  of  the  door  is  a  carved  panel  representing  the 
Army  in  action,  picturing  the  soldiers  leaving  St.  Thomas' 
Church  on  the  left,  with  their  faces  toward  France  which 
is  symbolized  by  a  cathedral  in  ruins.  Small  as  the  panel 
is,  in  actual  scale,  the  tremendous  action  of  the  men  sug- 
gests the  greatness  of  the  war  in  which  they  participated. 
The  figures  are  full  of  movement  and  intense  preoccupa- 
tion. 

The  sixteen  shields  in  the  panels  of  the  door  represent 
the  Allied  Nations  and  are,  in  the  order,  left  to  right, 
New  Zealand,  Japan,  South  Africa,  Montenegro,  Great 
Britain,  Belgium,  France,  Italy,  Canada,  Brazil,  Portu- 
gal, Greece,  Serbia,  Roumania,  Russia,  and  Australia. 

Above  the  door  is  the  large  bas  relief  of  St.  Michael 
slaying  the  Devil  in  dragon  form.  The  figure  is  delicately 
colored  after  the  fashion  of  the  medievalist,  thus  giving 
it  a  warm  and  life-like  glow.  One  notices  the  simplicity  of 
line,  and  at  the  same  time  its  power  and  dignity.  This  is 
no  lady  or  gentleman  angel,  but  a  true  warrior  of  God, 
standing  victorious  after  his  encounter  with  Evil.  The 
Motto  of  St.  Michael,  "QUIS  UT  DEUS"  (Who,  Like 
Unto  God)  crowns  the  whole. 

The  architects  for  the  Memorial  are  Bertram  Grosvenor 
Goodhue, and  the  Bertram  Grosvenor  Goodhue  Associates : 
the  sculptor  is  Mr.  Lee  Lawrie.  The  Memorial  has  been 
erected  by  the  Men's  Association  in  honor  of  those  of  the 
Parish  who  served  and  died  in  the  W  orld  War,  from  funds 
contributed  by  members  of  the  Congregation. 


C       L.  P. 


Him 


FEB.  1975 


